September 9, 2022 21:30
A reflection on the process of objectification of the female body and on the power dynamics often associated with the sex market. A journey into the feminine through the figure that has always embodied its gender stereotypes, the sexworker.
From the choreographic point of view, the research on movement found expression in the identification of qualities that could metaphorically represent the process of objectification of the female body.
Starting from postures and movements capable of triggering desire in the collective imagination, the three dancers build a minimal dance, a stylized, slowed down, suspended alphabet. The sensual and erotic component is completely canceled by a body that gradually loses life, becomes an object, a mannequin. The process of objectification is intensified by a voiceover, which through orders given to the dancers, shapes the structure of the performance in real time.
The apparent dominance relationship is in fact a much more articulated, ambivalent relationship, just as the client-sexworker relationship is ambivalent. “There is no single source of power in prostitution, this can be obtained and maintained by the client or by the prostitute”.
The dialectic of subjection and subjectivation is subtle, mobile. The gaze of the dancers takes us back to an intimate dimension, to the dimension of a one to one performance in which the audience is placed in an almost voyeuristic state. The gaze of the stripper, who usually leans outwards to address and arrest the customer with the ambition of a monetary gain, in Party Girl is characterized by an intimistic nuance and opens the doors to an inner, human world, which contrasts with the apparent dehumanization that the body is undergoing.
Three televisions on stage: abandoned artifacts that broadcast videos of landscapes, streets, night clubs, private apartments, places where everything that is not ‘lawful’ can find space.